Okay, so it’s not The Stone Roses, but in an interview with Rolling Stone, songwriter Jakob Dylan revealed his plans to reunite The Wallflowers. “I never suggested we were breaking up,” Dylan explained. “We all felt we were losing the plot a little bit and we needed a break. And that year break becomes two years, then becomes three years, and before you know it five or six years go by pretty quickly. I can’t do what I do in the Wallflowers without them. I miss it.”

He also plans to record a new album with the band early next year. “I’ve got new songs and we’ve all been talking,” Dylan stated. “We’ve been trying to carve that time out for a while.” This would mark the band’s first studio album since 2005′s Rebel, Sweetheart. Their last release, however, was 2009′s greatest hits compilation Collected: 1996-2005, which featured two original songs and saw the group tour behind it.

Check out the full interview over at Rolling Stone for more insight to what’s been on Dylan’s mind. Or, revisit the late ’90s with the band’s video for “6th Avenue Heartache”, provided below at your leisure. Stay tuned for more information regarding the band’s reunion plans.

Ghost On The Canvas features all brand new songs written by the likes of Paul Westerberg, Jakob Dylan, Robert Pollard, and Teddy Thompson. In addition, Chris Isaak, Dick Dale, Billy Corgan, Brian Setzer, Rick Nielsen, Roger Manning, and The Dandy Warhols all appear as guests on the LP. Campbell also plans to put on a “valedictory worldwide concert tour” called “The Glen Campbell Goodbye Tour”, with the entire itinerary to be announced shortly.

In the interview with People, Campbell revealed he’s been suffering short-term memory loss for several years. The actual Alzheimer’s diagnosis, though, occurred six months ago. “I still love making music,” Campbell said. “And I still love performing for my fans. I’d like to thank them for sticking with me through thick and thin.”

Ghost On The Canvas hits stores August 30th via Surfdog Records.

I include myself in the alleged stereotype (takes one to know one), but incongruous with the rest of the prototypical indie kid attributes, I’ve always had a certain fascination with, and knack for, sports. I grew up playing little league, recreational soccer, and comp lacrosse. Basketball was my first love, however, and continues to be the only sport I play regularly. The only thing that surpassed my participation was my fandom. And I was certainly in the right place for that.

I grew up in a suburb of Phoenix, and as such I was and am an avid Suns fan. I moved to SLC when I was nine, and I was forced to put the Charles Barkley adoration on hold and adopt the Stockton to Malone mindset of the Utah Jazz, which was fine with me because this would be their year (almost). The Jazz saw repeat stints in the NBA Finals in ’97 and ’98, both times falling to the omnipotent Michael Jordan and his Chicago Bulls. I cried each time as they lost by inches to the unstoppable MJ. It was that important to me.

My reason in saying all this is to boost my ethos in the arena (no pun intended) of sports. You can like sports and music at the same time, contrary to popular belief. Some of the jocks like music, and some of the musicians like sports. If you really look at it, it’s a much less clear line than we often perceive it to be

Besides, Friday Night Lights isn’t just about about sports. H. G. Bissinger’s groundbreaking non-fiction piece chronicles the 1988 season of the Permian Panthers of Odessa, Texas, but more than that, it chronicles the culture of Odessa and the state of Texas with regards to the Panther’s season. Along with football, Bissinger tackles the subjects of a failing oil based economy, abhorrent racism, compromised morals within the integrity of Texas schooling, and how it feels and what it means to be a teen preparing for adulthood – the pressure, the urge to rebel, and the absurdity of the whole concept.

Bissinger’s angry expose tells the reader of way the town revolves around the team. From September to December, how the team is doing equals how the town is doing. In a failing economy (the town built upon a now-dry oil supply), it’s all many individuals have to look forward to, placing massive responsibility upon the shoulders of the 17 and 18-year-old Permian players. Some succumb to the stress, others thrive. No matter what the outcome – outright victor or complete bust – every player falls victim to the town’s expectation of the Friday night lights.

Sound like the hard-hitting tale you might like to soundtrack? Explosions in the Sky sure thought so. Maybe it was the tale itself that enticed them to do so, or maybe it was the fact that they themselves experienced a bit of that Texas nightmare firsthand, so it hit close to home. Straight from the horse’s mouth:

Every once in awhile someone asks us how we ended up working on a big studio movie about football. The simplest answer is that we got an email. This particular email was from Brian Reitzell who was the music supervisor for both The Virgin Suicides and Lost In Translation (two movies that we are quite fond of). He said he was working on a new movie and he was wondering if we would be interested in doing music for it. We told him we would. He got back in touch with us a few days later and told us that the movie he was working on was called Friday Night Lights. He didn’t really have to explain much as we were somewhat familiar with the book and even more familiar with the setting of the story. West Texas. Midland and Odessa. This is the part of Texas where three out of the four of us grew up. We all read the book and we loved it. It was sad and joyful and depressing and triumphant and funny and ugly and exciting. We said yes.”

Whatever the reason, Explosions in the Sky provide a chilling yet beautiful backdrop to match the emotionally charged story that is Friday Night Lights. The band stuck to their guns, using their signature ethereal sound (which is fairly cinematic anyway) to soundtrack the chapters of the Permian experience. Not their best work, but their most fitting undoubtedly. It sounds like an unreasonable combo, but the first time you hear the layered guitar and muted percussion while watching the football soar through the air, with the hopes and dreams of an entire community riding on it, it all begins to make sense. Explosions has the innate ability to take something simple, and bring out the epic in it, which makes them the perfect fit for scoring this film.

And the fun doesn’t stop there for the Texas quartet. Based on the success of both the novel and the film adaptation, the powers that be decided to keep the ball rolling by adapting the story for a TV series. And the Explosions didn’t stop either. Explosions in the Sky licensed much of their catalogue to the series, including one of their original compositions for the film version of FNL. Also, the theme for the song, and certain sequences of music are written specifically to sound like Explosions.

And though the TV series twists the story quite a bit and adds a pinch of teenage melodrama that was previously unseen in the film and novel versions. Don’t let this fool you, however, this show is no joke. Over four seasons it has won nine Emmys and continues to win the hearts of critics and viewers alike.

And the soundtrack ain’t bad either. Much like the film, the show circles around the stories of the town with regards to football, and does so with a stellar soundtrack to top it all off. Split up into two different volumes, the retail soundtracks includes songs from Explosions in the Sky,  of course, A.A. Bondy, Calexico, …And You Will Know Us By The Trail Of Dead, Iron & Wine, Jakob Dylan, Jose Gonzalez, Outkast, Spoon, Sufjan Stevens, and The Avett Brothers. Artists used in the actual show include LCD Soundsystem, The Black Keys, Pearl Jam, Beck, Yeasayer, Yeah Yeah Yeahs, TV On The Radio, The Album Leaf, Broken Social Scene, Rogue Wave, Death Cab For Cutie, Wilco, UNKLE, Devendra Banhart, Rye Rye, and Little Joy, among countless others.

Using this list of artists, the producers of the show create a very believable musical atmosphere, and do so in a subtle fashion. No songs are used shamelessly nor does the show use its music as a crutch (here’s lookin’ at you, The OC). One of the characters is a big Liars fan, but you’d never know that unless you had a trained eye. Posters and buttons are the only things that indicate of any Liars affiliation. Later on, when messing around on guitar, one character plays a rendition of The Flaming Lips’ “She Don’t Use Jelly”. At one point in the show, perhaps a little less subtly, Heartless Bastards make an appearance as two of the main characters from the story go to one of their shows in Austin. At any rate, the songs are used less as a device to sell the show to indie kids, and more of a way to move along the story with a little more beauty. After all, you don’t like all the aforementioned bands for no reason; you love them because they create beautiful music that makes you feel. And somebody at Friday Night Lights realizes this and utilizes it in every show.

Friday Night Lights is truly a story for the ages in each of its three forms. Filled with raw emotion and hard-hitting topics, Friday Night Lights is a powerful story deftly told with the help of many of our most beloved musicians. I suggest you try it out.

Against all odds though, the festival went off almost as perfectly as one could have hoped. No bands derailed the schedule with diva behavior. The ingenious layout – side-by-side main stages alternating sets – rendered delays and sound problems practically nonexistent. Families and druggies mingled cheerfully, the peace-and-love community as close to the Woodstock ideal as you’re likely to find. And perhaps most surprisingly, the porta-potties were so clean artists remarked on it from the stage. Of course, fest finances being what they are, none of this guarantees it will see a second birthday, but after such a surprisingly hassle-free experience, everyone there is rooting for it.

Friday, July 2nd

The Felice Brothers

Photo by Britt Nemeth

“What song do you want to hear?” accordion player James Felice asked the audience before their last tune, as if there was any question. Shouts for “Frankie’s Gun” rang out the entire set; if the band had skipped it there would have ensued whatever riot a bunch of baked Americana fans could muster (it would probably involve dejected mumbling). The meager gathering had reason to wait for that one song. Though the band’s other folksy rockers hit the right notes, they mostly seemed like poor imitations of the one song people knew, the one song they came to hear, and the one song that proved the Felice Brothers may be a band worth watching. They just need to write a second.

Umphrey’s McGee

The jam band for non-jam fans, Umphrey’s McGee proved the Grateful Dead needn’t be a hippie’s only influence. Metallica and King Crimson hovered on the edge of the improvisational blast as hard-hitting drummer Kris Myers put his double kick drum through its paces. If you could make any other jam band louder, faster, and more distorted, they’d probably sound like Umphrey’s McGee. This wouldn’t be a bad thing.

Keller Williams

Okay, now make that same jam band slower, quieter, and more acoustic. Enter Keller Williams. The happy-go-lucky hobbit bounced around the stage barefoot, putting on a one-man show that veered from solo acoustic to using loop pedals to build broader soundscapes. It’s a very in-crowd approach, elating folks who like ten-minute acoustic grooves and leaving the rest of us cold.

Jakob Dylan & Three Legs

Photo by Nick Fitanides

Poor Jakob Dylan. No matter where he goes or what he does, in some sense he’ll always just be Bob’s son. Give him credit for trying to branch out, though (see Zappa Plays Zappa below for the opposite extreme). After his tenure leading the Wallflowers, he has gone straight-up country, writing rural odes to life and love and whatever. With this Dylan, the lyrics aren’t the point. His tight band and backing singers brought generally mediocre tunes to life and infused the occasional oldie (“Three Marlenas”!) with a steel-guitar-and-moonshine sway.

Passion Pit

One of the fest’s token nods to the indie scene, Passion Pit’s set benefited from Friday’s cool temperatures, allowing the daytime crowd to get a little loose. The Boston quintet seemed as happy to be there as the audience was to have them, playing through fan favorites with an enthusiasm that suggests they’re not yet entirely sick of “Sleepyhead” (or they fake it well). In a lineup not big on banter, frontman Michael Angelakos’ cheery rambling lent a personal touch to the packed show.

Ghostland Observatory

Photo by Britt Nemeth

After Passion Pit loosened up the joints, Ghostland Observatory got them flailing with their dance-or-go-home electro. Famous for their laser-heavy live set, this Austin duo didn’t disappoint, doing things with thin beams of lights you didn’t think possible. Producer Thomas Ross Turner kicked out synth jams sporting a massive cape while frontman/sometimes guitarist Aaron Behrens twisted around the stage as he unleashed his serpentine seductions. The audience seemed torn between raving and taking in the spectacle, but with such a high energy show, no one resented the indecision.

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This upstate New York quintet carries jam to the core, meandering along with frequent solos, digressions, and plenty of love-it-or-hate-it noodling. The Grateful Dead hover so obviously over these fests that covering them seems almost cliché, but cover the Dead they did, Keller Williams in tow, with “Deal”. The band curates their own festival in upstate New York and talk during the set indicated that more than a few fans will make the journey west in September.

Saturday, July 3rd

The McLovins

Connecticut trio the McLovins (a Superbad nod that probably seemed cool at the time) packed the small Port City Music Hall stage, putting some hard rock crunch into their jam granola. Drummer Jake Hoffman led the band through tricky rhythm shifts as copious melt-your-face solos attacked from all sides. A definite contender for best jam band of the weekend. Oh, and try to forgive the silly name. After all, they’re only 15.

Crash Kings

What started as a depressingly tiny crowd swelled throughout this L.A. trio’s set, listeners likely curious about who this amazing guitarist was. Trick question: There is no guitarist. Instead, singer Tony Beliveau hooks up one of his keyboards with some pedals and a massive whammy bar, blazing through psychedelic guitar riffs without ever leaving the ivories. The band closed with what has to be the hardest-rocking cover of “War Pigs” to ever go without six strings.

Photo by Nick Fitanides

Drive-By Truckers

In the midst their cross-country trek opening up for Tom Petty, the Truckers brought their most good-old-boy rock side to Nateva. The band’s three-guitar assault gives their southern-fried rock some real cajones, though they could use a little more stage presence. Luckily Flaming Lips frontman Wayne Coyne provided more than enough visual entertainment as he took in the set sidestage wearing a giant grizzly bear head.

She & Him

Photo by Britt Nemeth

When half your appeal is based on pristine sonics, sound problems can be a real bummer. It’s hard to achieve a breezy Beach Boys vibe through blasts of bass distortion. Still, Zooey Deschanel and M. Ward led their three-piece backing band through a pleasant pop set that featured much of their latest album, Volume 2. M. Ward clearly runs the show, doing the heavy lifting while ceding singing duties to the better-looking (no offense, dude) Deschanel. Her pitch proved a bit shakier than on the record and her onstage charisma is zero, but for lying back in the grass under the afternoon sky, good vibes are enough, despite distortion.

Grizzly Bear

One thing’s for sure: Grizzly Bear wins the award for prettiest soundcheck. No “one, two” garbage for these guys; they each tested their mics by singing their parts in various intricate harmonies. One of these guys needs to record some a cappella Sigur Rós covers, stat. After such a heavenly lead-in, the music itself seemed almost a letdown.

STS9

The sun set as STS9 hit the stage, and not a moment too soon. After a couple hours basking in the rays of indie-folk, some heavy dance grooves seemed just what the place needed to bring the evening in with style. An elaborate light show complemented the music, but most people seemed too busy dancing to pay much attention.

The Flaming Lips

What’s left to say about the Flaming Lips? If you’ve ever seen them live, you know the story (and if you haven’t, you need to stop reading now and start planning a road trip). Unlike Bonnaroo’s Dark Side of the Moon performance, their set at Nateva was by-the-books Lips. The band entered the stage birthed from a giant glowing vagina, and things only got stranger. Frontman Wayne Coyne surfed the audience in a giant hamster ball. Ten-foot tall balloons bounced over the audience. Dancers dressed as traffic cones leapt around the stage. Coyne wore giant foam gloves that shot lasers. You know, the usual.

Sunday, July 4th

Zappa Plays Zappa

Holding the title of best tribute band in existence is kind of like being the world’s number-one Elvis impersonator. Doesn’t Dweezil Zappa ever want to play a song his dad didn’t write? The man’s an incredible guitarist (like his dad) and capable band leader (like his dad), but apparently the whole songwriting thing skipped a generation. Though no one sported fake Zappa mustaches, the singer who imitated Frank’s singing was about as irritating as when your friend demonstrates his “awesome” Bob Dylan impression. There’s honoring and there’s rehashing, and this band leaned a little too far to the latter.

George Clinton and Parliament Funkadelic

I had one question while watching George Clinton: Which one is George Clinton? Apparently I was not the only one confused. Call us uninformed, but the man is famous for his multicolored hair, bushy grey beard, and propensity for wearing beads everywhere, all the time. None of the dozen-plus people onstage exhibited these trends. Sure, there was the guy with the enormous nose mask (known as “Mr. Noze”), the girl dressed like the Mad Hatter, or the dude who wandered the stage writing audience instructions on paper (i.e. “Make some noizzze”). Turns out Clinton was the guy with the short, dyed-black beard dressed like a Fubu clothing model. Oh.

The Derek Trucks & Susan Tedeschi Band

Former child prodigy, current honorary Allman Brother, and all around hot-shit guitarist Derek Trucks closed out with Stage Two with his wife as the Derek Trucks and Susan Tedeschi Band (not to be confused with the Derek Trucks and Susan Tedeschi Soul Stew Revival). Needless to say, Trucks’ slide was on fire, but only rendered everything else more forgettable. Pretty tunes for a summer afternoon, but nothing that sticks. They wash over you, but when they ended, they left nothing behind.

Furthur

Photo by Britt Nemeth

Furthur, the latest incarnation of the Grateful Dead, closed the event with a bang (literally). After spending the last year touring with the Dead proper, stripping the original members back to guitarist Bob Weir and bassist Phil Lesh could be seen as a step down, but the new band has one ace-in-the-hole to keep them from being Dead Lite: backing singers Sunshine Becker and Jeff Phearson. There are surely more glamorous positions for a singer – standing around idly for long stretches is part of a jam band singer’s job description – but when they did join in they turned the tunes into true songs, not just excuses to continue the jam. “Casey Jones” roared with fervor well beyond a concession to the casual fans and a cappella set closer “And I Bid You Good Night” draped the holy spirit over a dead-quiet field. Deadheads following the tour got a bonus treat with the Furthur debut of Phil Lesh & Friends original “Celebration,” which opened the show. Inevitable encore “U.S. Blues” got flags waving high through the final chord, which cued a fireworks display that must have cost half the fest’s budget. Worth it.

Feature image by Nick Fitanides.

Dylan, who earlier in the week released the brilliant, country-tinged Women and Country, recently explained to The Pittsburgh Post Gazette, “I don’t take the records preciously, that you’re supposed to reproduce those. We’ve only done a handful of shows, and we’ll let them breathe and go wherever they want to go.” This comment naturally piqued my curiosity and raised several questions. How would Dylan play his new songs live? How exactly would indie starlet Neko Case and her regular backing band, Three Legs, support him? And would Dylan be reaching into his back catalog for some choice selections from his first solo effort, Seeing Things, and his beloved records with The Wallflowers?

Friday’s show opened the tour for Dylan and Three Legs, and with the same good-natured spirit and politeness Dylan brought to the stage, I’ll choose to classify the performance as a warm-up for better things to come later in the tour. Dylan began the set with the gorgeous “Nothing But the Whole Wide World”, which sounds even fuller and lusher in person. A workmanlike “Everybody’s Hurting” followed and managed to capture the grim essence of the Women and Country version, as Case and Kelly Hogan backed Dylan on vocals. At this point, there was no reason to believe the show would head south, but as the set continued, it became evident that Dylan and his band weren’t on the same page.

Dylan spent a good portion of the evening playing band conductor, going from member to member mid-song in an attempt to convey what was needed. On “Everybody Pays As They Go”, the band cut the song one verse short, and Dylan was forced to restart the number from a dead silence. Dylan and Case struggled through a duet of “Smile When You Call Me That”, unsure of which lyrics should be sung by whom. And an otherwise stellar “Down On Our Own Shield” was unfortunately marred by a clashing of backing vocals between Case and Hogan.

If Dylan and his band were less experienced, the night could have really turned disappointing, but Dylan kept the crowd firmly on his side. About the evening’s difficulties, he joked, “It’s all part of the show, folks. It’s all rehearsal.” He sweetly dedicated a gentle “Yonder Come The Blues” to Gracie, a toddler in the third row who was at her first rock show. And when the band struggled to begin “Evil Is Alive and Well”, Dylan restarted the song and delivered a suped-up version that got the audience dancing in the theater aisles.

When Dylan and Three Legs retook the stage for their encore, the crowd was still hoping that the band would click, even if only for a few songs. Unfortunately, it wasn’t meant to be. By this time, Dylan’s voice was clearly going on him, and the band was just trying the best they could to finish out the set without another breakdown. Dylan struggled through “Something Good This Way Comes” and “Three Marlenas” and thanked the crowd before leaving the stage.

I won’t venture to guess whether a lack of rehearsal or unfamiliarity between Dylan and the band was the main culprit on Friday night, but the result was a set that failed to do justice to the wonderful new material from Women and Country. “We’ve learned some lessons tonight and taken notes,” Dylan told the audience near the show’s conclusion. Given his track record and the obvious talent of Three Legs, it’s likely the group will learn from Friday and round into form as the tour continues.

There’s still plenty of reason to believe that something good this way comes when Jakob Dylan visits your city in the weeks ahead.

Dylan’s first solo effort, 2008’s Seeing Things, offered a fine collection of acoustic arrangements that intimately showcased his songwriting in a minimalist context. On Women and Country, Dylan aimed to take that same traditional sound and expand upon it. “I knew going into this record I wanted to hear something full and vibrant,” says Dylan. “I wanted for it to be as big and beautiful sounding as it could with instrumentation.” To achieve this sound, Dylan enlisted legendary producer T-Bone Burnett to take the production reigns and indie goddess Neko Case, along with Kelly Hogan, to provide backing vocals.

Women and Country begins close to where Seeing Things left off. “Nothing But the Whole Wide World” and “Down on Our Own Shield” are straightforward, almost old-timey, folk songs, but Dylan and Burnett add a new dimension and drive with more prominent percussion behind Dylan’s acoustic strumming. Case and Hogan’s diverse vocals provide the lushness and texture that complete these songs. At times, their voices drift in and out like a soft breeze through a window, and at other moments, they meet Dylan’s vocals in the forefront, providing a gentle sweetness to match his earthy, straining tone.

By the record’s third track, Dylan puts Seeing Things squarely behind him and begins to embark on entirely new territory. The grim and nearly danceable “Lend a Hand” features seedy and demonic horns that would fit perfectly in a Tom Waits song. The bittersweet “Smile When You Call Me That” walks a tightrope between pop song and country ballad, with Dylan trying to reconcile a relationship steeped in dysfunction. “I’m drunk and you’re insane/I can’t quit and you won’t change/Ain’t no half-hearted Romeo/Why do you treat me so?/Like our love’s a joke/And it’s too much to laugh/Well, can’t you at least smile/When you call me that?”

But Dylan is at his very best on Women and Country when he uses dark, rural imagery to convey the idea that what men hold most dear—notions of country, home, and identity, as well as possessions and even women—is at stake and in imminent danger. “Left turn off a county road/Weathervane is to the north/In the shade of sycamore/Is the house where you were born,” opens Dylan on “We Don’t Live Here Anymore”, a foreboding song that pounds along and features haunting backing vocals on the chorus by Case and Hogan. “Everybody’s Hurting”, with a somber fiddle and beautiful harmonies, continues on in this vein of what might be dubbed “Bleak Americana,” carrying on that long tradition of depicting the plight of the downtrodden. “We’ve hunted these hills dry/We’ve long outlasted the winter and our last woodpile/Only one thing’s certain/That’s everybody, everybody’s hurting.”

Women and Country owes a great deal to the rich traditions of country, blues, and folk, but Dylan does more than simply reproduce these genres. He borrows from them in order to voice his own observations in a language that speaks to all of us. By looking back, Jakob Dylan has taken a great leap forward as an artist.

Ghost on a Canvas will solidify what has been an exceptional career for Campbell. As he paid homage to modern artists with his 2008 covers record, Meet Glen Campbell, the time has come for the artist’s to return the favor. Songwriters Robert Pollard, Jakob Dylan, Chris Isaak, and yes, Paul Westerberg contribute to what will no doubt be one epic effort.

“It’s not your mother’s Glen Campbell,” producer Julian Raymond tells Billboard. “He’s playing guitar better than ever, singing and writing better than ever. It’s really going to be a great final statement from him.”

Westerberg penned the titular track, and while the album boasts some stellar star power (Dandy Warhols guitarist Steve Hunter, former Prince cohort Wendy Melvoin, and drummer Josh Freese to name a few more), Ghost on a Canvas will be comprised of entirely original material. Some way to exit, huh?

There is no release date set, but expect it by year’s end — including a supporting intimate tour, too.

On top of the already announced shows, there’s also stops in Pittsburgh, PA, where this leg of the tour kicks off, plus Washington, DC, Northhampton, MA, and many more. But if you can’t make your way to your local club or theater, you can still get a glimpse of Dylan, Case, and the rest of the gang when they appear on The Late Show with David Letterman on April 21st and The Tonight Show With Jay Leno on May 13th. We’re sure you’ll see at least one of those shows.

Watch out for more touring news and album details in the coming weeks. Women and Country hits stores April 6th via Columbia Records. Tickets are on sale via Ticketmaster.com.

For an early preview, we suggest you check out the band’s recent performance for IFC during last week’s South by Southwest:

Jakob Dylan 2010 Tour Dates:
04/09 – Pittsburgh, PA @ Carnegie Music Hall of Homestead
04/10 – Covington, KY@ Madison Theater
04/13 – Louisville, KY@ Brown Theatre
04/15 – Boston, MA @ Wilbur Theatre
04/16 – S. Burlington, VT @ Higher Ground
04/17 – Albany, NY @ The Egg
04/19 – Northhampton, MA @ Calvin Theatre
04/20 – Glenside, PA @ Keswick Theatre
04/21 – New York, NY @ Town Hall
04/22 – Baltimore, MD @ Ram’s Head Live
04/23 – Washington, DC @ 9:30 Club
04/25 – Toronto, ON @ Phoenix Concert Theatre
04/26 – Chicago, IL @ Park West
04/27 – St. Paul, MN @ Fitzgerald Theatre
04/28 – Milwaukee, WI @ The Pabst Theatre
05/12 – San Francisco, CA @ The Regency Ballroom
05/13 – Los Angeles, CA @ The Wiltern

Things are looking pretty for this second outing as Dylan paired himself up with Grammy and Golden Globe winning producer T Bone Burnett, who worked on The Wallflowers’ 1996 critical and commercial smash, Bringing Down the Horse. What’s more, Dylan will also be sharing vocals with indie queen Neko Case and singer-songwriter Kelly Hogan on eight out of the 11 tracks. In terms of sound, Women and Country picks up where Seeing Things left off, continuing Dylan’s journey through America’s country and blues roots. Let’s just say he’s had quite the mentor to assist him in that journey, huh?

Mark those calendars, Women and Country arrives April 6th via Columbia Records. In support of the release, Dylan will hit the road on a nationwide tour, so expect dates in the near, near future.

Of course we’ll post ‘em for you.

Women and Country tracklist:
01. Nothing But The Whole Wide World
02. Down On Our Shield
03. Lend A Hand
04. We Don’t Live Here Anymore
05. Everybody’s Hurting
06. Yonder Come the Blues
07. Holy Rollers for Love
08. Truth For A Truth
09. They’ve Trapped US Boys
10. Smile When You Call Me That
11. Standing Eight Count